Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
Here's some reviews to help you get your week off to the right sort of start. Lovelovelove the mention of Frank Cho's brilliant LIBERTY MEADOWS. I can't believe how amazing that guy is, and how few people seem to know it still. Thanks as always to Andrew for doing such a great job. Makes it easy for us chimps on this end of things...
Hi Gang. Andrew from GrayHaven here with a smattering of reviews for you this week. Enjoy and don't forget to check out our interview with new X-Factor writer, Jeff Jensen, elsewhere on the site.
Ancient Joe #3
Written and illustrated by C. Scott Morse
Published by Dark Horse Comics
Reviewed by Cormorant
A few weeks back, I covered the basic premise of this series in my review of Ancient Joe #2. If you need a refresher, jump here and check it out: http://www.newcomicreviews.com/other/DarkHorse/AncientJoe/2/df2.txt
As I'd hoped, this issue, the climactic issue of the series, finally sees Ancient Joe make his way to hell to find out if his recently deceased wife is suffering there at the mercy of El Diablo. This might lead you to picture the heroic Ancient Joe leaping around through fiery caverns, fighting demons and looking for some poor, chained-up woman...but that's just not this series' style. The only leaping you'll see is on the nicely painted cover. For all the fantasy elements, this is a very low-key comic, and writer/artist Scott Morse is more interested in a quirky conversation than in staging a clichéd action sequence. Sure, we see the strange sight of hell and El Diablo himself, but it's El Diablo's first remark to Ancient Joe that really sets the tone for the scenes to come:
"Hey, Joe…whaddya know?"
Yep, turns out the Prince of Darkness talks with the same laid-back colloquialisms that nearly everyone in this comic does. In referring to Ancient Joe having outwitted him in the past, he gripes, "You know how much crap my wife gives me? I mean, to this day!" I love it. El Diablo's a hoot, and the reader's even likely to end up sympathizing with him by story's end.
This is not a comic about big ideas, powerful emotions, or earth-shattering action. In fact, it's probably the most easygoing adventure comic I've read all year. Half the time, it's just Joe wandering around quizzically, or simply two characters talking. The fact that one of them might be a masked folk hero or a little ghost girl or the devil himself is almost irrelevant - it's all relaxed chatter, and even the seemingly epic nature of Joe's quest doesn't feel that much more pressing than a trip to the store to get some bread. That may be a weakness if you're looking for a story to get you pumped up, but it's a strength if you're willing to embrace Morse's lighthearted approach.
Which isn't to say the story is without feeling at all. Joe's quest is actually somewhat eclipsed by the touching resolution to the macabre relationship between Joe's aging friend and his ghostly daughter. It's simultaneously twisted and heartfelt, reminding me, as previous issues have, of Tim Burton films like Edward Scissorhands.
The comics enthusiast in me wants to say that everyone should run to their comic shop right now and buy this three-issue miniseries without hesitation, but the truth is that it's damn idiosyncratic material, and most people I know would probably look at it and shrug. That said, I recommend it to fans of Tim Burton and lovers of the strange, the twisted, and the cartoony. It's a light snack, but it's got a spicy aftertaste. If your local comic shop doesn't have all three issues, I suspect we'll get a nice, affordable trade paperback in a few months, as Morse seems particularly good about getting his work collected. Hopefully the collection will include the handful of other Ancient Joe appearances thus far, especially the small press comic, Loud Cannoli, which featured his first showdown with El Diablo.
Overall: 8 out of 10
Daredevil #29
Written by Brian Michael Bendis and illustrated by Alex Maleev
Published by Marvel Comics
Reviewed by Victor Destefano sohei7@aol.com
First off, the chronologically broken up method of telling this story (a la Memento and Pulp Fiction) combined with Bendis' great handle on dialogue and Alex Maleev's "mature" artistic style really takes any hokeyness out of a book about a blind man saving the day in red spandex. Matter of fact, Bendis and Maleev are making this my favorite Marvel book out right now!
This issue takes us deeper into the story of Silke (a young gangster who's where he is due to good, ol' fashion nepotism and a current yuppie gangster mentality that is said to be something nonexistent in the past) and a pissed off blind vigilante/attorney trying to find out just who it was that tried to off him. And now things are getting interesting.
***SPOILER WARNING****
Within the first few pages, we find out that The Kingpin is still alive, but barely (I'm sure everybody's real surprised). And we learn that the attempt to take his life probably stemmed from the Kingpin's reluctance to allow what the newcomer, Silke, and his dad wanted, the rubbing out of the blind attorney, Matt Murdock.
When Silke first asks the favor from The Kingpin, the fat gangster refuses, showing his stubborn, unchangeable ways and demonstrates his old school respect for the man he knows to be both lawyer and crime fighter (and now the man he can relate to even more so. Both being blind and all). My Daredevil knowledge is somewhat limited and I hope Bendis "reminds" us of just what history is between the two men, Fisk and Murdock. From reading some of Frank Miller's trades, I know that Fisk knows Daredevil's identity, but I have no idea just why he is protecting him. I hope some light will be shed in the upcoming issues.
Now the near-dead Kingpin is in a situation further compounding his troubles. He's barely alive, but sending him to a hospital for the medical treatment he needs would only let his new enemies know that he's indeed alive after all and would make him even more vulnerable. What to do, what to do? Well, the only thing left is something that just may kill the man. Flying him out of the country. A move that the already wounded man just can't handle in his current state.
On top of that, Fisk's devastated wife is in the picture and, towards the end of the issue, she asks one of her husband's closest men if her and Fisk's son was among those who tried to take her husband's life. Something that looks like it could be very probable. For someone like me who knows little history of the Fisk family, this is all very exciting. I can't wait to see what the deal is and what happens next.
***END OF SPOILER***
Along with an intriguing story, Bendis manages to write some really nice dialogue. I'll admit that Silke's lil' speech about the nature photographer (a story that basically amounted to, "you have to wait patiently for the prize") seems very similar to other speeches delivered by characters from Bendis' work on Sam and Twitch, Jinx and the like, but all in all, it all seems very natural. I also find Silke a rather typical, disposable antagonist (the young, flashy, Gotti-esque young upstart who wants it all right now and does whatever it takes to get it), but a bad guy like him is needed to deliver a story like we're seeing. He works fine now, but I hope we don't see this guy after this story runs its course.
Now as much as I like Bendis' job on this, I have to say the real awe came from Maleev's work illustrating it all. Maleev makes the real world look more interesting than it actually is and all without distorting anatomy or turning everything it into a cartoon. Every change in attitude is greatly depicted and you can practically tell what's going on without reading any dialogue or narration. His dark, gritty style works a lot better than I thought it would when I first heard that he and Bendis would be teaming up for the book.
Matt Hollingsorth's colors compliment Maleev's art giving me a much-needed break from the ultra-bright jobs seen in the Ultimate books, and many other of Marvel titles. Dark, solid and consistent. It captures the mood of the story quite well.
Overall: 9/10
Delicate Creatures Graphic Novel
Written by J. Michael Straczynski and illustrated by Michael Zulli
Published by Image Comics
Reviewed by Aaron "Vroom Socko" Button (vroomsocko@hotmail.com)
Strictly speaking, this isn't a comic book. It's an illustrated fairy tale, similar in structure to the Vertigo edition of Stardust. Unlike Stardust, however, the story is told from the perspective of the fantasy creatures instead of the humans.
The story features a small collective of Fairy creatures living inside the walls of a castle. The land the castle belongs to is involved in a revolution based in "Marxist/Stalinist Nonsense." To say any more would spoil the story, but it features a transformation, a search for identity, and a meditation on revenge. JMS tells this story through not only prose, but with small bits of poetry. While Straczynski is no Robert Frost, (heck, he's not even Ogden Nash,) the poems do work within the context of the story, and are even quite charming.
There is no possible way for fantasy art by Michael Zulli to be anything but amazing. The opening image of the castle is absolutely breathtaking, as is pretty much every image of the fairy-girl Trifle. There is life and beauty in this art that most comic illustrators can't even begin to touch. When I see the name Zulli on a book, I know I'm in for a treat.
Now, at $16.95, this is a relatively expensive book. However, it is well worth it. If you're a fan of fantasy art, find a copy of Delicate Creatures. You'll thank me later.
Overall: 10/10
Elektra and Wolverine: The Redeemer #2 (of 3)
Written by Greg Rucka and illustrated by Yoshitaka Amano
Published by Marvel Comics
Reviewed by Cormorant
Let's cut to the chase this time around so I can open by saying that this was my favorite comic of the week. I'm cheating a little, because it's not so much a traditional comic as it is a profusely illustrated prose story in the tradition of Neil Gaiman's Stardust and Sandman: The Dream Hunters (with whom it shares the artist, Yoshitaka Amano). But it's bound like a comic, serialized like a comic, and dammit, how can it not be a comic if Wolverine is in it? Aw, who cares? The point is that it's good and you're going to want to read it.
The first thing you'll notice about this baby is that it's got gorgeous production values - cardstock cover, beautiful painted art on nearly every other page, and not a single ugly ad to muddy the waters. It's obviously inspired by the aforementioned Neil Gaiman projects, so it can't claim originality, but a good format is a good format, and the current Marvel regime isn't shy about "borrowing" ideas that work.
Quick back-story from the previous issue: Elektra, the cold-blooded and flawless assassin, accepts an assignment to kill a man and make it look like an accident. After a fantastic infiltration sequence, she brings down the target in his sleep, but mysteriously fails to notice a witness - the target's young daughter. The girl screams, and in the ensuing rush of guards and witnesses, Elektra narrowly escapes, having failed her mission. The girl becomes a focal point for the story as Wolverine finds himself manipulated into signing on as her bodyguard and Elektra is compelled to pursue her. In the second issue, we begin to learn more of the mysterious girl and her link to Elektra, even as Wolverine delves into the motives of his employers.
Revealing any more would spoil the fun, but the important thing to know is that Rucka has crafted an utterly engaging story that balances strong characterization, mysteries, and white-knuckle action sequences. I've never read any of Rucka's crime novels, but his style here is spare and to the point, and it suits the two no-nonsense leads. Rucka also gets into their heads a little more than is typical in comic books. It's one of the advantages of prose, and I'm finding it to be a truly refreshing change of pace, especially in Elektra's case. Wolverine's a pretty straightforward character, but until now I've never found Elektra especially appealing, even when she played a key role in one of the best Daredevil stories of all time. Rucka finally allows her some humanity, though, especially in her scenes involving the girl. Their strange link suggests to me the twisted relationship between Jean Reno and Natalie Portman in The Professional - it's sweet and disturbing all at the same time. Maybe a little more of the latter. This is the first time I can recall Elektra coming across as sympathetic, even vulnerable, yet she never loses her enigmatic air. It's probably my favorite portrayal yet of the assassin, and bodes well for Rucka's assignment on Elektra's solo book when Brian Bendis wraps the forgettable first arc.
Amano's painted art...it's not going to work for everyone. It didn't work for me at first. Amano's style is wispy; his characters revealed through virtuoso sketches and brought out by moody watercolors. In layman's terms, the book looks a little "artsy", and my gut reaction was that that was fine for The Sandman, but not so appropriate when dealing with bruisers like Wolverine and killers like Elektra. After two issues, I'm happy to say that Amano has completely won me over. I believe that a more realistic artist - Alex Ross, say - would just feel superfluous as in recreating the text precisely. Amano adds something. His Elektra, for instance, is pale, cruel, almost inhuman in appearance, and a sort of contrasting synergy kicks in as Rucka's text takes her in the opposite direction, closer to her humanity. And his wild-haired, feral Wolverine? Just plain cool looking.
This is as slick a project as I've seen from the new Marvel, and I recommend it without reservation.
Overall: 9 out of 10
Hunter: The Age Of Magic #7
Written by Dylan Horrocks and illustrated by Chris McLoughlin
Published by DC/Vertigo
Reviewed by Elliot Kane
For the past few years, Tim Hunter has been studying in the White School, a kind of multi-dimensional academy of magic. He has not been home to England for some time, and with good reason. His enemies have most certainly not forgotten about him, and the instant he returns to England he had better be prepared to become the instant focus of every malign mystical organization on Earth.
But England is home, and Tim can only avoid his responsibilities as the Merlin - the avatar of magic in the world of men - for so long...
This issue does make some reference to characters and events from the Books Of Magic series and the last Tim Hunter mini-series. For those who have not read them a glossary of some kind would have been useful, but fortunately the distraction is not so great as to ruin the story for new readers.
This is actually a very good jumping on point, as it begins a new story arc that is clearly unrelated to the last, with Tim returning to Earth, rather than staying on Gemworld. Chris McLoughlin is a new artist on this title, and I must admit that I am unsure as to whether or not I like his art style. It seems a strange mix of the simple and the complex, which may take some getting used to. He definitely knows how to evoke a surrealistic feel that is perfectly in keeping with the tone of the story, however, and I have a feeling that his style will grow on me over time.
Overall: 8 out of 10
The Incredible Hulk #36
Written by Bruce Jones and illustrated by John Romita Jr.
Published by Marvel Comics
Reviewed by Cormorant
The latest Incredible Hulk is titled "The Gang's All Here!" and it fits. The first two issues of Jones' and Romita's new direction were essentially stand alone tales of Bruce Banner as a fugitive from the law, but here we're finally seeing specific opponents step to the fore. They're still hired guns working for shadowy, unnamed superiors, but I think I'm safe in presuming those superiors are the same unscrupulous g-men that have been dogging the Hulk since his inception. By pushing them into the shadows, however, Jones gives the series a touch of "X-Files" flavor. It works.
The hired guns in question are Sandra Verdugo, a cunning and mysterious death row escapee, and an egotistical and unmatched mercenary known simply as "Slater." Verdugo's precise abilities have yet to be defined, but thus far, neither she nor Slater appear to have any overt superhuman powers. It's a big switch for this title to step away from the likes of the Leader and the Abomination as the "big bads", but Jones presents these two as serious threats. For stone-cold killers, they're pretty charismatic too, and I'm looking forward to seeing them forced to team up.
The final player in the story is Doc Samson, the green-haired scientist who's been both friend and foe to the Hulk over the years. Samson was recently portrayed as a ruthless bastard in the Startling Stories miniseries by Brian Azzarello, and I'm supremely thankful to see that none of that characterization has tainted the character in this book. Samson remains a moral man, though even he may end up on the trail of Banner in light of the ongoing subplot suggesting that the Hulk may have killed a child during one of his rampages.
The first two issues of the new direction reminded me quite a bit of The Fugitive and the classic Hulk TV show, but this time around I'm reminded of the film Day of the Jackal (the original, NOT the wretched Bruce Willis film of the same name). Day of the Jackal is fascinating in that the story of the weeks leading up to an attempted presidential assassination is divided equally between the preparations of the police and the preparations of the assassin himself. Likewise, while Banner gets some nice character moments in this issue, it's really a chance for Jones to turn the spotlight over to the villains.
I'll be very interested to see how the book's new suspense-thriller tone goes over with fans in the months to come. The Hulk has gone through what seems like dozens of incarnations in the last decade alone, but this is the only time outside the TV series that I can ever remember the Hulk himself being all but absent for such lengthy stretches. Oh, his *presence* is felt in nearly every scene, but action fans should know that this is most definitely not a story about the Hulk punching bad guys. That might happen eventually when things hit the fan, but right now it's all tension and restraint, which could also describe Bruce Jones' writing style. His dialogue is somewhat sparse, but there's a subtle impact to it, and Jones is smart enough to let artist John Romita Jr. do a lot of the storytelling visually. I'm especially happy with the scenes that reveal the mental state of Banner himself. Because Banner has no friends or confidantes to play off of or help provide exposition, much of what he's feeling inside must come across purely through the art, and Romita is pulling it off in spades.
Truly, this is the Hulk comic for non-Hulk fans. Or for people like me who like the Jekyll/Hyde concept behind the Hulk, but haven't seen anything exciting done with it in many a year. Well they're doing something exciting *now*, and this issue is another perfect jumping-on point.
Overall: 9 out of 10
Liberty Meadows Wedding Album
Written and illustrated by Frank Cho
Published by Insight Studios Group
Reviewed by Aaron "Vroom Socko" Button (vroomsocko@hotmail.com)
I remember the first time I read Frank Cho. I was hanging out with friends, debating recent comics storylines. In an effort to avoid the topic at hand that had us evenly divided, I picked up a copy of University² from the floor. I ended up having to leave the room because my laughter was drowning out the others conversation. This book, and the newspaper strip Liberty Meadows, played out like the comics equivalent of Meet the Feebles. Cho also has both a fondness and exceptional skill at drawing both beautiful women and giant apes. Now that is a great combination.
Now Cho is leaving the daily comics scene, and is diving headfirst into comics. Liberty Meadows Wedding Album was promoted as the first non-reprint collection of Liberty Meadows, as well as the resolution of the cliffhanger ending of the final strip. Unfortunately, the non-reprint portion of the comic totaled about five pages. The rest is reprints of the strips detailing the relationship between Frank and Brandy, as well as the strips leading up to the wedding. Not exactly what I was expecting.
However, this isn't necessarily a bad thing. I'd compare it to someone renting the Tim Burton Planet of the Apes, and finding the disc of the Charlton Heston version in the case when arriving home. Sure, you paid for the flashy new stuff, but the old classic is still fun. Besides, I can't hate a book that constantly has characters using the phrase "Great googaly moogaly!"
Cho is going to be doing Liberty Meadows as a comic book only from here on in. I for one can't wait to see how the transition will affect the level of both the storytelling and art. I expect great things in 2002 from Cho the Monkey King.
Overall: 8/10
Sigil #20
Written by Barbara Kesel and illustrated by Eduardo Barreto
Published by Crossgen Comics
Reviewed by Elliot Kane
For me, Sigil has always been the weakest link in the Crossgen line. There is no doubt that a Sci-Fi/Space Opera title has a lot of potential, but no one at CG really seemed to know what to do with it.
The idea has always been to do a fairly straight Sci-Fi space war epic, with the Humans on one side, and the Saurians - a race of lizard people - on the other. The Humans, as always, are up against the wall when the reluctant hero suddenly finds a way of fighting back. In the case of Samandahl (Sam) Rey, the gift of a Sigil which gives him awesome power. And makes him the most wanted man in the universe, as everyone wants to seize control of the new and awesome weapon they think he has found...
A great starting premise, if hardly an original one. Unfortunately, up until this issue, the execution has been far from impressive. Forced romances between characters that had shown no real signs of attachment to each other combined with an inability on the part of the writers to visualize the vast scope of the setting they had created did not make for an impressive read.
Mark Waid even had the central character dimension hopping in an attempt to distance him from the action for a while, allowing Waid to develop the other characters and prevent Sam finishing off the Saurians in a couple of issues.
With Waid's departure, Barbara Kesel has created what amounts to a fill-in issue before the arrival of Chuck Dixon as regular series writer with the next issue. It is also far and away the best issue of Sigil thus far.
Sam, still dimension hopping, arrives on the world of Demetria, virtually nose-to-nose with Sephie, Minister of Meridian. The rest of the issue is basically Sam trying to teach Sephie how to fight a war, which is by turns funny and touching, and gives great insights into both characters.
True to CrossGen's basic premise, it makes no difference to the story whether you know anything at all about Sephie or her world. All you need to know is explained during the story. For readers of Meridian, you will miss nothing of any importance if you do not buy this. The story offers no true revelations about Sephie, nor changes her in any way. It is a very good read though...
I have been a fan of Barbara Kesel since her excellent work on Hawk & Dove for DC. Her greatest strength has always been strong characterization and character interplay, and this issue is a prime example.
Sam and Sephie are obviously from totally different backgrounds, yet their interaction seems completely natural. The juxtaposition of the world weary and cynical Sam with the young and idealistic Sephie works beautifully. Sam's internal monologue is hilarious, and totally in character. The other normal characters in Sigil - Roiya, JeMerik and Zanni all get cameos, but this is basically the Sam and Sephie show, and is the stronger for it.
Chuck Dixon's debut next issue will probably be a good series jumping on point, but miss this issue and you will miss a great story...
The artwork is also very good. Barreto's characters are all recognizable and distinct from each other, and his grasp of facial expression is very good. His Roiya reminds me of Denise Richards, which is no bad thing, while his Sephie is instantly recognizable.
He conveys motion, transmutation and destruction very well, all of which are necessary for this title...
Overall: 8.5 out of 10
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